Amrutha Ananth - 8octaves Music

November 1, 2013

November 1, 2013September 18, 2022 Amrutha Ananth

Interview With Workshop

The year was 2008. It is said that Satan had some lust on God, they had sex and Satan was prone to multiple orgasms, there was a big bang. And that’s how Workshop was formed. Hailing from the city of dreams – Mumbai, we caught up with the Heavy Mental band for a quick chat before they launch the new album

Eight Octaves: Take us through the journey of being just a backing band for Demonstealer’s ESP guitar workshop to being India’s first full-fledged Comedy Metal band.

DS: Workshop was formed differently than DR was. This was more of the involvement of 3 people namely Riju, Raj, Hamza and myself. I didn’t expect that we’d have line up changes and tough situations but it has all come our way. We’ve been around for close to 5 years now and it’s been a rollercoaster ride. The last 2 years have been particularly hard dealing with the changes in line up and getting this album written and recorded and finally released. It’s been a huge work load for us. The sort really was we got together, wrote and album, played every show we got till Raj got paid 44lakhs P.A at his job and quit after which we slowed down and then Riju had a sex change operation and became Dr.Hex and quit Workshop and then we struggled for a year with recordings, got Devesh Dayal and Aditya Kadam to join us on lead guitar and bass and completed recorded the album and here we are now, ready to conquer the world.

HK: Sahil, your last sentence has 83 words. I’ve read stories with lesser words than that. Our band’s journey is very similar to the journey of the protagonist in every Karan Johar movie. Sahil was a loving, handsome yet lonely young man. He longed for companionship. He met Riju and Raj on www.metalshaadi.com. When they required a drummer, I joined on the condition that they’d keep a distance of 3 feet from me at all times. We became friends and decided to go back to college in the UK at the age of 76 (sahil) and 42 (the rest of us). We won a few Grammies whilst competing in the local college scene and then we realized that our motherland wanted us back. We came back to India and formed Workshop. After which Raj and Riju divorced Sahil and unfriended me on facebook. Sahil tried cloning them, got it wrong and created Devesh and Kadam, including fake memories of their childhood. We now, occasionally release albums.

Eight Octaves: Haha! What made you choose Comedy as the main theme of our songs? According to most people, Metal and Comedy are simply two opposite things and taking into consideration that all the members of the band are involved with some pretty serious hardcore bands.

DS: I think the comedy just came naturally to us. When Hamze, Riju and myself hung out it was pretty much a mad house to say the least and that just kind of set the tone for the band itself. When it came to writing the music I pretty much only know how to play and write metal music so obviously metal was kind of the base genre for the band and when you put us all together it just became heavy mental. The new album is more ‘rocky’ and ‘groovier’ but has a lot of the ‘metal’ as well.

HK: It was an obvious decision. We dealt with it mathematically. There were 4 of us and collectively we’d watched 24,756 comedy movies and 2 horror movies. We calculated the popularity of Adam Sandler and Mr. Bean, against the popularity of the bald guy from Hellraiser, the one with needles in his face. So the options were Humour Metal or Black Metal. We chose the latter, got sued by Mayhem and went with the former option.

Eight Octaves: I’m surely gonna have some stomach cramps after this interview 😀 From day one, your music has been appreciated by everyone. With the funny lyrics fused with headbanging riffs you have created a league of yourself. How did it feel to see such a crowd response? Did you expect that when you started the project?

DS: Well to be honest some metal fans took this the wrong way (probably from behind) and we did get some flack but the general feedback was fantastic and we’ve loved it since day one. Especially at gigs we feed off the positive vibes and energy from the crowd. I had no expectations when we started the band and it was great that we got such a superb response.

HK: Day One is the company that runs Live from the Console and they haven’t asked us to play at their event yet. Sadly, the crowd response we got was definitely better than the fake response of the crowd on “Pastonji’s Cone banega crorepati” TV show where they get a really dumb crowd so you’re sure to lose in the audience poll lifeline option.

Eight Octaves: Hahaha! Coming to your album released in 2009 – KhooniMurga. It is the most innovative album ever done by any Indian band. While recording or writing the songs, what was your mind-set like? Was the scene like serious band rehearsals and composing stuff or were you more interested in having maximum fun while working on the album?

DS: It was 50% having fun and 50% jamming and I think with all bands in general they have fun while jamming even in my more serious projects (and when I say serious I only mean that I have to sing with a straight face) we have fun while jamming people will do funny things during the jam just suddenly play a whole part on the toms or higher octave or some random stuff and that happens with us as well. We are all actually extremely hardworking and dedicated musicians. The idea was to have fun doing what we do but that doesn’t mean we are serious about having fun. If that makes sense. It’s like a professional stand up comedian he’s serious about being funny.

HK: First of all, there was no mind, and even if there was, it was definitely not set. Our jams had some serious music happening but it was laced with insanity. That’s evident in our blogs, though most of the really insane stuff was too offensive to upload on youtube.

Eight Octaves: Ever thought of making a parody song on social issues? With the fan following you have, I guess that would help spread some awareness too.

DS: It is funny that you mentioned that because I very strongly believe in spreading awareness and making this country a better place to live in. To educate people, to open their eyes and to bring some kind of change, even if it’s small. Our album is underlined with some of the things I wanted to say and fans will hopefully discover those messages when they read the lyrics.

HK: For a change he’s actually serious about that. In light of the current situation our country has faced, we hope that people will look through the humour and realize that there’s a message that we’re trying to convey. Not cause we want to ride on the social wave but because we genuinely mean it. Like our humour and insanity, even our patience has its limits.

Eight Octaves: So the top priority after getting the album is reading the lyrics carefully, check. Okay now the new album – Made Love to the Dragon. What can we expect from it? Judging by the artwork, we are in for another round of rib-tickling madness I presume

DS: It is 110% Workshop. We’ve gotten groovier, funkier, funnier and more melodic even. We’ve kind of gone back to the basics of song-writing and just written some solid songs. I think there is a balance in this album and I think the fans will be the best judge of things.

HK: We can tell you what not to expect. The dragon on the cover is not going to come alive and jump in bed with you in case you’re looking at this as the only way to live out your hentai fantasies. Riju tried it. He failed. He contacted Blind Guardian and King Diamond for voodoo consultation and all he managed was to get some red stuff soil his pants. Quite similar to the album cover actually. But no… no dragon coochicooing happened.

Eight Octaves: The last album had everything; Garba, Pop, Bhangra, etc. Songs like BuntyaurMallikaSherawat and Kothae Doro Chho being my personal favourites. Any similar crazy stuff on the new album?

DS: Definitely we’ve obviously pushed the bar on this album and we’ve got everything from songs about property prices in Mumbai to songs like ‘She Came’ and ‘Naagin Ki Nazar’. I think we’ve definitely got a more cohesive sound with this record.

HK: By cohesive sound he means that all our songs are disco and djent at the same time. We took disco, which has to potential to make even Mithun famous and djent, which is currently ultra hip, and fused that together in order to become more famous than Mithun.

Eight Octaves: Any upcoming tours for Workshop after the album release? Maybe some shows in different cities?

DS: Yes we are indeed working on these but right now we’re only scheduled to play Blue Frog in Mumbai on the 10^th of Feb along with Arquebus and What Google Can’t Find. It is going to be a really fun gig.

HK: Apart from that Sahil is now organizing Tour de Demonic Kitchen, 2 daily tours of his kitchen, the land from which amazing dishes like the Demonic Omelette and Meatzza have originated. If you pay 1,000 bucks more, you can also watch him cook something. No touching, only watching. Brought to you by Watching Powder Nirma.

Eight Octaves: Damn HK, you do know how to fool around 😀 What are the future plans for the band? Any videos or play-throughs coming our way from Workshop? Or maybe some collaboration for a single release?

DS: We just released a guitar play-through for the song ‘Made Love To The Dragon’. We already released a whole bunch of studio blogs. We also are working on tons of shows all over the country because we really want to get out there and just play for the fans and also make new fans along the way. I think Workshop is a band to experience live because it’s so much FUN!! We also have two music videos in the pipeline so lots of stuff coming your way.

HK: Somehow, I’m getting the feeling that Sahil has asked himself this question. How is it possible for you to know that we were going to release a guitar play-through?

Eight Octaves: Well HK, I am a journalist, I have done some homework on this 😀 Finally, any message for the maniacs who listen to your music?

DS: Well keep those funny bones alive. Don’t be a noodle, be a smoodle. Cheers and Stay Robotic.

HK: Haha you can’t keep bones alive man! Funny boners though, are probably possible. Why so sexist? We have messages for maniacs and womaniacs alike. Buy our album and feel the warmth and goodness grow inside you for having done some charity.

Workshop – Made Love To The Dragon guitar playthrough –

September 25, 2013

September 25, 2013September 25, 2022 Amrutha Ananth

Album Review – Veena in Vienna by Punya Srinivas

Artist: Punya Srinivas

Album: Veena in Vienna

Label: Purple Note

Mixed & Mastered by: Shanti Shekhar @ Krishna Digi Design

If you are looking for something fresh from the world of classical and fusion, you have stumbled upon the right album. Veena in Vienna is the first offering of Chennai based veena virtuoso Punya Srinivas. This humble looking lady has completed over 5000 recordings on the veena, displaying complete control over the instrument alongwith several of her own developed skills.

This album is a rendition of a number of compositions written especially for the artist by 7 composers except two tracks, Veena in Vienna is by JS Bach and Mad Mod Mood Fugue by Ilaiyaraaja

Veena in Vienna as the title suggests is a syncopated alliance of Indian and western influences with supportive collaboration from some excellent musicians, composers and technicians. Though the main focus of this album is on the veena some interesting platters have been presented with other instruments as well. A special mention also needs to be made of the work done by the various guitarists on this album. The arrangement done in the album is vague to profound. The number of arrangers and musicians used on this album could be the reason behind this.

‘Global Gear’ composed arranged by Stephen Devassy is the first track to the album. A wonderful track that has diverse related elements flowing through a number of segments of the track. This forms the body with the Venna orchestrating the melody that chains this all together. Apart from fantastic work on the veena, Punya also displays her ability to dispense ragas with as much ease.

‘Hot Winter’ is composed and arranged by Sharreth. The track is a ballad of a number of melodies put together going through various twists and turns. The constant shift in the groove of the song makes it sound like a movie soundtrack and less of a song.

‘Veena is Vienna’ – E major Sonata composed by JS Bach

This track is the best track of the album. Veena is a classical traditional instrument with 7 strings with 4 used for playing and 3 for drone. As indian music is mainly based on vocal tradition, there is a reliance on only those octaves that is achievable vocally hence the third and fourth’s string use is minimized. In western music, written form of composition has allowed used of a more diverse pitch range. Punya Srnivas has tried to integrate this aspect into the veena by adapting and performing the violin part of the western music great JS Bach. She has been quite successful in doing so too.

‘Piece for Punya’ composed by V.S.Naramsimhan and arranged by Navin Iyer & Bharanidharan. This track has a traditional Indian groove playing alongside some funky breakbeat style beats. An orchestra of instruments such as flute, saxophone and guitar accompany the veena on this one. ’Metamorphosis’ – symphonic Variations composed by vivekanand. This track has an mystic atmospheric gloomy overtone created from the veena and orchestra.The main theme is a group of six notes with which the composer has created the track with symphonic treatment. The centre section of the movement is built on atonal and tweleve note serial languages.

Next is a chillout tune with a reggae rhythm composed and arranged by Nivas Prasanna called ‘On Cloud Nine’. Punya Srinivas is wonderful in adapting to the change and has complimented with well. It is interesting what moods and emotions are presented with fusion of diverse styles and cultures. It helps break the associative moulds to catch the glimpse of the other or not ‘know’. ‘Mad Mod Mood Fugue’ is composed by on of the renowned musicians of India Ilaiyaraja. A rock rendition of the track gives an upbeat feel to it. Fans of the growing folk rock scene in India check this one.

All in all a fresh vibrant album. A must listen for connoisseurs of the new and different.

September 19, 2013

September 19, 2013September 23, 2022 Amrutha Ananth

Album Review – Limit Zero – Gravestone Constellations

Artist: Limit Zero

Album: Gravestone Constellations

Label: Unsigned

Mastered by: Keshav Dhar (Skyharbor)

Release Date: September 2012

Limit Zero guitarist Shreyas introduces the band as “The idea behind Limit Zero was to unify various genres and sounds to create one melodic soundscape with a hint of brutality, and a concept that focuses on Space, Gravity and other interstellar uncertainties.”

Limit Zero is a metal band from Bangalore, India .Limit Zero present their debut offering this september, ‘Gravestone Constellations ‘. Another work of art to add to growing metal scene in India. Raised in Bengaluru, the hub for rock scene in India since the past few years now, Limit Zero is an amalgamation and Deviance of this very viscous environment.

The band calls this music to be along the line of Experimental and Progressive Metal and have been inspired by bands like In Flames, Soilwork, Meshuggah, Deftones, Textures. The band’s music too is tilted toward this style in comparison to the general metal sound. Some aspects characteristic of this style are double bass drumming, heavy distorted guitars and a combination of singing and growling. Since the EP release couple of years back the band’s sound has become more professional at the same time has not lost all its teeth and rawness.

The album covers a range of different styles or moods and sub-moods .Though a definitive Limit Zero signature sound is not apparent in the album the music has kept it within certain lines to keep the listener intersted.

The work done by Keshav Dhar on the album in terms of production is marginally below the mark. Point to be considered is the variation in Skyharbor’s music compared to Limit Zero. Excellent drumming on Gravestone Constellations by Vatsa. His style is neat as well as versatile. He is able to create the shift in scene giving depth with multiple drum pattern sets in each song.

“Galaxies Bleed” is the first track of the album. This track is a good introduction to Limit Zero and the 3 years that went behind making this album. “Approaching Infinity” is one of the best tracks of the album. The synchronic bass guitar layers aptly compliment each other to add effect across various twists and turns of the track. This track along with “Focus” also features on the EP previously launched by Limit Zero.The album charters all which is dark and finds layers and versatile pathways within these known and unknown region

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Started out in 2008, Shreyas Skandan’s project evolved over time with gain in momentum With Sachin Rajmohan on board. They released a free EP with 250 cds and got a decent amount of attention in Progressive Metal/ Djent community. Shiv,Arjun and Vatsa picked up Bass,Guitar and Drums duties respectively and completed the band by 2010. Crisis struck Limit Zero. Sachin left the band for personal reasons. The band searched quite a bit nationwide for apt vocals for their ensemble. Sunnith Revankar ( Bhayanak Maut ) came into the picture since then and has been doing a good job too. A massive musician mashup is occuring in the music scene with several musicians playing in several bands apart from their ‘base’ band or what they started out with.

This album apart from Sunneith also features Siddharth Basrur (“Pulsar”), and Trevor Marks from Toxic Grind Machine (“Gravestone Constellations”) on guest vocals. The Band has been playing live gigs at various venues in Bengaluru and also some festivals. With so many new bands coming into the scene, it is not known what will stop them from withering away into oblivion once again.

Buy this album here

September 5, 2013

September 5, 2013September 24, 2022 Amrutha Ananth

Gig Review – Michael Jackson Tribute

MEMORIES ‘POP’ !

“The Buzz – Living Performances” was a program which commenced way back in 1996 to provide a strong platform for various artists in the buzzling city of Chennai to perform on, in the field of Music, Dance and Drama thus in a way creating a source of superior ‘live’ entertainment for the audiences in the city.

Boardwalkers who have a total of 19 successful shows to their credit with performances including Jesus Christ Superstar – Just Friends – Women with Voices – The Flatulist – The Owl and The Pussycat – The Spirit Of Bob Dylan, ABBA tribute and many others joined hands with Club of North East Madras. A charity program in nature aiding with various causes supported by the Rotary Club, the tribute to the ‘King of Pop’ in view of his 55th birthday celebration was sponsored by Sterling Holidays..

Even four years after his death, the love for MJ and his ‘Moonwalking’ is eternal. The minute the audience heard ‘Dangerous’ , the crowd went bizarre, This is the kind of euphoria associated with the legendary artiste.

Aishvarya, a die-hard MJ fan said “MJ’s songs are always approachable despite being complex. They have depth and always have an interesting blend of various elements of music”.

Rao, who also performed MJ’s songs with his band 7even at the Broadwalkers’ tribute concert to MJ exclaimed that the era of pop and Disco is owned by MJ and that no one can ever replace him. “ ‘Beat it’ is one MJ’s song that can make anyone dance” he said.

All MJ fans were enthralled with dazzling dance and music performances who came together from various renowned troupes/bands respectively. Anusha Swamy ‘beat it’ with some kickass moves to a blend of MJ songs 😉 . Franks got the Funk and Junkyard Groove were also present there giving the audience some magical MJ moments.

Leon James, the renowned keyboard player in Chennai expressed that MJ’s music ‘quality’ has what has made his music reach out to the people at large. Vivin, a freelance musician who plays the keyboard, recalled a show he did two years ago. With ‘Man in the Mirror’ being his favourite number, he expressed that MJ’s song never got him bored even though he listened them to a million times.

Another huge fan of MJ is dancer Anusha and her friend Divya, a dancer too. Anusha who was also one of the performers with her group said that his songs are such that it can cover a wide genre of dances—salsa, hip hop, Cha Cha Cha and so on. “It is actually a choreographer’s delight,” she says. She expressed that one can sense passion in all MJ songs. Tarun, who was also one of the dancers said “ It is definitely not easy to copy MJ’s steps. They may seem easy when you watch them. But replicating it and that with perfection is such a hard task. We kept practicing for more than a month. I would still not say our moves are perfect , not even close to what we see on the videos. He is a spontaneous dancer.”

Sunitha Sarathy, leading playback singer was also a part of the tribute show and entertained the audiences with a few famous tracks.

It was not just a music concert! It was not just a dance show! It was a true tribute to the legend! It was MJ FOR A CAUSE (with all proceedings being donated for a good cause by Rotary)
This tribute concert which happened at the Lady Andal Auditorium was packed with youngsters and mid-aged MJ fans who did not fail to spread MJ love and support the scene.

August 5, 2013

August 5, 2013September 18, 2022 Amrutha Ananth

Pick of the Week – Tails on Fire

‘Tails On Fire’, a high energy alternative rock band from Chennai was formed in early 2011. Being ‘more than musicians’, their music is a blend of styles ranging from Rock, Grunge, Funk, Alternative and Blues. Keen on experimenting with new technologies and techniques, the band’s visibility is seen even with melodies and smooth vocals. Read further to know more about Eight Octaves’ ‘Pick of the Week’.

Eight Octaves: How would you warm up a band? Give us tips.
Sriram: Imagine the calm before the storm, everything is ready, your heart races and your brain is going haywire to keep up. Your palms sweat and this is where you tell yourself, take a deep breath, keep calm and destroy that stage!!!! We all group together, band huddle, all of us so excited cuz this is what we were born to do!. This is what we earn to do. This is what we LOVE!. For a 3^rd person’s point of view you would see us jumping around, randomly screaming, stretching , speaking in alien language and then, 3 2 1… KABOOOOOM!

Eight Octaves: How would you usually choose repertoire for your ensemble?
Sriram: Originals take the primary spotlight!…. We look at covers we love to do and also represent the direction that we hold in our originals. The covers ideally give us that boundary within which you would find our artistic direction of our sound!.

Eight Octaves: Tell us about a favourite composition project you guys have done.
Sriram: I think the most fun song to play live is “Happiness is a headshot” it’s simple and pure Mentalness in a bottle of coke. And you drop a nitroglycerine mentos into it.
Another track called “No! with some sugar” puts a smile on my face when we play it!

Eight Octaves: What would a student-centered approach look like in the band rehearsal setting?
Sriram: Jam room will be the place that one would get away from the harsh realities of life be it a student or a carrier man. When we walk into that jam room, the heat, your boss, your professors, your assignments, the traffic, your recent ex girlfriend, your miserable self confidence (otherwise) etc all go out the window!

Eight Octaves: What rhythm and/or tonal syllable systems do you use in your compositions?
Sriram: Bounce!. , Djent, Crazy maniacal awesomeness in musical form!.

Eight Octaves: What do you practice – exercises, new tunes, hard tunes, etc.?
Sriram: When we get together for practice, we spend a lot of time just going for it ex tempo(If you will) and see what happens, this really helps us form some sort of a single consciousness which helps us to even change and morph live on stage. And we also find it helps us come up with music that we could never come up with alone!. So then, new tunes emerge, or it might lead into a cover which is particularly fun to play…. Hard tunes are usually left for alone time for self practice!.

Eight Octaves: How do you handle mistakes during a performance?
Sriram: Mistake happens…. We look and laugh and somehow keep the music rolling and make it up. Since we practice so much together (not just for gigs) that single consciousness thing really keeps us in sync. Any mistake, usually we look to one person who would take the reins and lead us out of the mess. Sometimes its me on guitar, or the drums itself!. Most of the time it’s the guy who made the mistake, leads us out of it! The trick is to not make it LOOK like we made the mistake!.

Eight Octaves: Were you influenced by old records & tapes? Which ones?
Sriram: 3 of us in the band are country music fans. Strange that it’s a world away from what we play but yes we love a story telling approach to writing. I’ve grown up listening to various kinds of music putting me in various moods, if I want that mood in my song, ill know where to go I guess!. But for Tails on fire, I guess my influences are 90’s jump rock specialists, Rage against the machine, POD, Sugar ray, Hot action cop…..

Eight Octaves: How would you incorporate ‘world music’ into the band curriculum?
Sriram: We don’t have conventional songwriting and song structure. We ourselves using western instruments create something totally new. Since it’s not a trivial matter where you take a carnatic/Celtic riff and put it along with a ragger beat and put a Spanish rap to it!. That’s just biryani!. We like to make our own dish, so we aren’t really a party of a single genre (hate that word) of music. Makes us world-ish!???

Eight Octaves: According to you, what amounts to a great ‘gig’ session?
Sriram: When we get off stage with a smile on our faces and we are deaf with the screams of the crowd that partied with us and had a great time!.

July 22, 2013

July 22, 2013September 23, 2022 Amrutha Ananth

Album Review – Mothered Land by Blakc

Artist: Blakc

Album: Mothered Land

Label: N/A

Mastering: Chris Athens, Sterling Studios

Release Date: June 2012

“BLAKC has always been about two things, the music and the people. We believe that our music is an extension of our personalities and the only way to connect to so many music lovers. Off stage we are weird; on stage we can tear a place apart purely because of the energy we have. We love making music and playing it LIVE.”

This is what Mumbai based Alternative Rock band; Blakc has to say about themselves on one of their digital domains. This digitally active being has generated quite a following for itself over the years through its ear catching music and innovation inspired professional promotion skills.

‘Mothered Land’ is the second release of the band after ‘Choking on a Dream’(2009). The band has almost redone / remade itself in this album. “Our first album, ‘Choking on a Dream’, is more grunge. ‘Mothered Land’ has more focus and an important message. We also love experimenting with art and visuals, so we’re always thinking of interesting ways to make our cover art and our videos stand out,” quoted Anish Menon (guitarist) in an interview. The band has already released a video ‘Untitled’ from this album on YouTube, with around 10,000 views.

An alternative classic rock treat. This album is Classic Rock meets Nu Metal meets Alternative meets Progressive. Apart from the Gods of Rock, the band is inspired by various local acts that made it big, such as Avial, Junkyard Groove, Thermal and a Quarter, Indus Creed and Parikrama.

‘Anti-Corruption’ is the main concept behind this album. The cover depicts the current state of affairs, where individuals increasingly become pawns in someone else’s scheme. Anish Menon and Shawn Pereira (vocalist) together wrote lyrics for the entire album. This is aimed at showing the political skullduggery that is prevalent in every contemporary sphere of activity. “The title was thought of after all the songs had been written. We realized what a mess it is out there in our motherland. Thus we came up with mothered, which means ‘messed up’,” says Pereira.

Classic guitar riffs, lip smacking drumming patterns by Shishir Thakur, complimented by Roop Thomas on the bass, dynamic vocals presented by Shawn Pereira and Reinhart Dias is what Mothered Land is packed with. An interesting support of effects on the vocals has given the vocalist the ability to keep things fresh.

Shantanu Hudlikar from Yashraj and Keshav Dhar from Skyharbor have also worked on this album. The mastering has been done by Chris Athens (who has worked with artists such as Coldplay and AC/DC) at Sterling Studio, New York. Shantanu was so adamant in getting the mastering done by Chris that he paid for the expenses for the mastering himself. This change is probably the best reflection of how the Indian Rock Scene has improved since the nineties. Listen to any recordings pre-2003 and be the judge. Blakc released their sophomore offering ‘Mothered Land’ at a launch party at Blue Frog, Mumbai on June 3rd and Hard Rock Cafe, Hyderabad on 28th June. The band is also offering this album in a box set along with ‘Mothered Land’ t-shirt, stickers and a poster. Grab at will!

July 8, 2013

July 8, 2013September 12, 2022 Amrutha Ananth

8 things about the Indian Music Scene

1.The Seagram’s 100 Pipers India Music Week this year will also see a two day music conference is being hosted in New Delhi on the 21st and 22nd of November, supported by Royal Norwegian Embassy. This conference aims at providing a much required platform for musicians in India ; thus facilitate as a support structure to engage the musicians in conversation and moreover to also help widen their knowledge base. It also aims to provide networking opportunities with music professionals, both on National and International levels.

2.According to Fly Music festival’s website, it has been concluded that recreating past years glory is not something concert organizers can rely on entirely anymore. ‘Nostalgia’ has lost its charm and no longer sells tickets in India. The music scene has become all about the here and now; the present, the current singers. We now finally understand the reason for Ray Manzarek and Robby Krieger’s concert, with front man Jim Morrison, got cancelled that was scheduled to happen mid February.

3.The readiness with which Indian audience embrace any genre of music has been attracting interest from big players in an international level. Year after year India has witnessed tours by various International Superstars. The recent concerts of Bryan Adams at select venues in India has been a huge success, in a way proclaiming to the world that India has opened up more to outside influence/international players.

4.The current Indian rock scene has a larger following than ever, and with the emergence of globalization, may soon be identified in the international arena on a larger scale. Lately, Delhi has seen a rise in bands including more contemporary,western influences. Bands like the White Stripes, Rage Against the Machine, Limp Bizkit and Slipknot are perfect examples.

5.Going ‘Digital’ is the new ‘key’ for the world of music with mobile phones becoming the most accessible device to listen music. Recent study indicates that more than 90% youth consume music through mobile phones, while 80% do so on TV and only 40% on Radio, showcasing the potency of the new medium. Even though this shift was only obvious, the flip side of the study was a cause of concern for most; the shocking fact that though 40% of the youth spend on music, almost ¾ downloads are pirated with the youth exchanging music illegally!!

6. In a way, the annual music connects hosted by Nokia Music Connects believes Piggy Chops has represented the Indian Music Scene on an international scale,with her vanity project “In my City”. We are still wondering if this is a good or a bad thing!

7. Believe it or not, ‘Bollywood’ music still conquers the mass market on Indian stereos , but not to forget that the alternative scene is growing and thriving as well.One notable change in the Indian music scene is that in the recent years there has been a rise in the number of music festivals, and an increase in dance nights, catering to upwardly mobile young Indians.

8.For all budding artists out there, you may be surprised, but it is just getting easier to get a chance to make it big with the music scene India being in nascent stage. ‘Kolaveri di’ was just one example to motivate your vocal chords.

music fire in music backgrounds wallpapers

May 8, 2013

May 8, 2013September 17, 2022 Amrutha Ananth

DOES CLASSICAL MUSIC HELP US CONCENTRATE?

Preparing for exams or working on a presentation seems to be a lot faster while listening to music. But when it comes to concentration, is all music is equally effective? We all know of the “Mozart effect” – which shows that listening to Mozart’s music provokes a quick-fix enhancement on the routine of specific types of mental tasks known as “spatial-temporal reasoning” ,the capability to reflect long-term, conceptual solutions to logical problems that occur.

Did you know what it is with classical music? Read further to know more: There has been a continuing dispute pertaining to the special effects of classical music on the body and the mind. Many individuals support that listening to classical music acts as a stimulant to the mind. At the very least, classical music does emerge to have constructive effects on emotional stimulation and possible advantageous effects on memory. In terms of stimulating the body, the most notable effect that classical music is often linked to dancing and uplifting the physical spirits of the person listening to the music. According to Laurence O’Donnell of Cerebromente.org, classical music has the tendency to calm the body and stimulate the mind because its rhythm matches typical body functions, like the heartbeat and breathing. Classical music’s calming effects can also help reduce anxiety. Moreover, considering why this happens, it is interesting to understand that we may not even be aware that it is the rhythmic patterns underlying most classical pieces which helps our brain waves to syncopate, and thus we concentrate better. On the other hand, research has also indicated that instrumental music under the classical genre is the best kind of music; safest kind for concentrating considering that even a sudden upsurge in tempo or dynamics will be less distracting than lyrics.

Research has even indicated that classical music is ideal for uplifting our emotional morale and soothing our soul and mind. Yes indeed it may be a bit distracting initially especially while attempting to concentrate studying for an exam or any other complicated mental task. Nevertheless, it does come into sight that in certain conditions, like memory retention, listening to classical can function as a memory assistant, thus keying the mind into storing certain content; thus functioning as a pneumonic device. Want to try if classical music works for you? Want to see a change in the way your memory works? Motivated to plunge into knowing to more about classical music now? Its classical revival this month at Eight Octaves! J

May 3, 2013

May 3, 2013September 17, 2022 Amrutha Ananth

Interview With Rithvik Raja

Rithvik began his vocal training at a tender age of 5 and having a natural flair for it, he is involved with music full-time now.Currently the President of YACM (Youth Association for Classical Music),a premium organisation for Carnatic Music amongst the youth, he is involved with taking ‘music’ altogether to a different level.Having won major music competitions in Chennai,he has also been giving concerts in the December Season consistently right from 2005.

Eight Octaves: Congratulations on winning the esteemed ‘Yuva Kala Bharathi’ 2012 – Bharat Kalachar, Chennai. It must have been a moment of pride for sure. Share with us your musical journey. How did it all start?

Rithvik: Thank you very much for your wishes. More than a moment of pride, it was very humbling to receive the ‘Yuva Kala Bharathi’ as it is one of the most important awards for a young musician. I see it more as a source of encouragement given for my talent that helps me focus more and achieve greater things rather than something given for my accomplishments in the field of Carnatic Music.

My musical journey began at home. My mother Sudha Raja is a Carnatic and Choral Music teacher and she regularly had students at home when I was barely 2 years old. By the time I was 4, I started humming the tunes along with them while playing at home. My parents then said, why not sit with these other kids and sing? So that’s how I was initiated into music – in a very casual atmosphere where my mother was my first teacher, and where the joy of singing came from within.

Eight Octaves: Being trained under T.M. Krishna, a purist who keeps up with the traditional pattern of Carnatic music, what is your picture about the realm of Carnatic music? What do you think has helped you cross the boundaries of classicism?

Rithvik: Training under T.M. Krishna has been one of the most stimulating and educative experiences for me, apart from the lovely personal bond I share with him. He is a stickler for tradition and expects nothing less from me, be it my commitment towards music or my perfection for what has been taught by him. His dedication towards music while being a patient teacher is highly motivating for a student like me to put in more effort and I think I’ve been lucky to have such a wonderful guru guide me through my musical journey and teach me the importance of the core values of Carnatic music. I strictly believe in maintaining these very same values and try and expand the horizon of what music is, as perceived to be, within the boundaries of classicism. This is very important as tampering with these values means changing the aesthetic of the music itself.

Eight Octaves: You are the President of Youth Association for Classical Music (YACM) that dwells in diffusing Classical Music among the youth. What are the kinds of activities you do to promote Carnatic music? According to you, to what levels has the western music influx changed the mindset of the youth in the way they see Carnatic music?

Rithvik: The main aim of the Youth Association for Classical Music was to give a platform to the youth of Carnatic Music, back in 1985. YACM has successfully achieved this goal as every major concert series today has a slot for young musicians. After redefining the goals of the organizations, we felt that as much as the young need to be given opportunities, it is equally important to put more youngsters in the chairs of these concerts. So with this as the focus, YACM has been going to schools and introducing them to Carnatic Music and breaking the ice as something they can listen to and have fun with, just like any other form of music. It is important to sow the seeds into their minds at a young and impressionable age, which might help them create a liking towards this music in the future. The western influx is even more today, than in was 10 years ago thanks to mass media, Internet and television. To battle this and to bring our own cultures and traditions to the kids of our nation is becoming difficult, but not impossible. Its time the arts took these very powerful and effective tools and used them to its benefit to widen the reach among the younger generations.

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Eight Octaves: What were your practice methods? A word of advice for the aspiring Carnatic musicians?

Rithvik: My practice methods during my early developmental stages were to sing in the morning and do my voice training exercises (also known as Akara Sadagam) and then practice for a while in the evening after I’m back from school or college. It was something I enjoyed doing and was never forced to sing. So I think that at some level, the idea of wanting to sing came to me naturally. But from my personal experience, I have learnt that listening to a lot of music and taking ideas from that and incorporating it into your own music with your originality and style is as important as singing and practicing your own music. After a number of years, the assimilation of ideas helps in creating new ones, which then becomes unique to you. How much of this do we do consciously and how much of it becomes imitative beyond a given point is a thread that we need to carefully needle.

Eight Octaves: Many people believe that the “December Music Season” is getting too commercialized. What is your take on it?

Rithvik: Maybe from the perspective of people who come and listen to the music and for those who are in the perimeter of the December Music Season, it certainly does look commercialized. But being bang in the middle of it, I can assure you that it is only about the music. Maybe the commercialization helps in bringing more people to the halls and in getting across to a larger spectrum of the audience, but what the musicians present and what the audience come for is essentially the music which is what drives this commercialization. People from all over the world come for the music and not for the stalls and the commercial aspect of it. But one thing I do feel strongly about is the sheer number of concerts during December and wonder if there is a need for this many concerts.

Eight Octaves: What are the changes you see in the way audience receive Carnatic music? Has the ‘critical’ knowledge come down compared to past years? If yes, why do you think so?

Rithvik: It is encouraging to see that many people still want to listen to Carnatic Music on a daily basis. But at some level, I feel that the absolute quantity of concerts in a year reduces their interest and curiosity in actually wanting to go and listen to a concert. That is where I feel that cities like Mumbai and Delhi really benefit. The fact that there are only 5-10 concerts a month makes sure that the Carnatic music loving population are driven to come to each and every one of these concerts in full attendance, irrespective of the artiste who is performing. That is not the case in Chennai. With respect to the ‘critical’ knowledge, there have always been different sections of listeners. Some who are very well informed, some who are knowledgeable, some who don’t know much but who are just there for the music as they enjoy it, and some who are there for their family or friends. The majority of this listening population today is driven by the past. They come with certain expectations from concerts that they have previously listened to from their favorite musicians from the bygone. Recordings have been a boon, but it also gives the listeners an opportunity to constantly compare and analyze the present musicians with the past greats as the benchmark. If even earlier recordings were available, would these past greats who are considered benchmarks today be compared to their predecessors? I feel that every artiste is her or her own musician and that this comparison or expectation for being X or Y’s student or from A or B’s parampara (lineage) isn’t healthy. Let artistes be themselves and lets go listen to them for what they have to offer rather than for what we want to hear.

Eight Octaves: What is your opinion about new genres like “Classical Rock” and “Classical Jazz” coming up? How do you think it is affecting the traditional “classical music”?

Rithvik: If we are talking about the traditional ‘Classical Rock and Classical Jazz’, which have been in vogue in the west for almost 40 years now, then they are quite established as separate genres of music. But if we are talking about the recently sprouted genres that incorporate Carnatic music into Rock and Jazz music, then I would have to say that there is still a long way for them to go in terms of exploration and character for them to be considered separate genres with original identity. The problem also lies with the fact that people expect and welcome anything that is new, which gives them the opportunity to try and do many new things and fuse genres just because there is a market for it. Whether the artistes from both these genres first understand their musical genre completely for them to fuse it with another is a different debate altogether.

Eight Octaves: Where do you see yourself in the next three years? Can you also tell us about your upcoming projects?

Rithvik: I don’t particularly see myself anywhere specific as long as I continue to enjoy my music and present it in a way that is natural, honest and from within me. I sing for myself and relish it. If the self-enjoyment of one’s own music isn’t there, then the presence of another entity during this process in enjoying the same music isn’t really healthy. Whether it is at a hall, temple or anywhere else, it doesn’t matter. I sing what I believe in and that is what helps me get across to the people who come to listen to me.With respect to my upcoming projects, I do try and dabble with a few ideas and implement them as projects, trying to experiment and understand these questions that I pose to myself from time to time. Most of my projects are a product of wanting to learn from them rather than to let people identify what I comprehend. I enjoy doing them as they keep me active and involved in areas other than just singing concerts. In today’s scenario, I think that we as musicians can do a lot more than just sing concerts. It is important for each and every one of us to present the art form in different ways to the public and play whatever small part we can to take the performing arts forward in this fast growing world. My most recent project deals with a similar issue. It is titled Kutcheri – ‘A Concert Experience’ which addresses the concept of how the Carnatic Music genre is presented to the public.

Eight Octaves: What is ‘Kutcheri’?

Carnatic Music is one of the most aesthetic and beautiful musical forms in the world. A pleasant atmosphere is created where the music is honest, natural and from the heart. For both the listener and the performer, the atmosphere in which we share this music is as much an experience as the music itself. It has the ability to enhance the experience and spur creative impulses. Kutcheri is an experiment to present the collective expression of a group of artistes coming together and presenting music that is vibrant, in a setting that is vivid and bright with colours and light. This project is to show that a little work can go a long way in creating a portrait that isn’t often seen or listening to music in a way that isn’t often experienced.
For more information, visit www.rithvikraja.com/kutcheri

May 3, 2013

May 3, 2013September 17, 2022 Amrutha Ananth

COMMUNITY ORGANIZATIONS – CARNATIC MUSIC

There are various existing communities: communities for upliftment of the poor, communities for women, communities for adult education and what not! Coming to the Carnatic music scenario in India, there is a lot of such new ventures coming up.

A community based, non-profit, cultural entity, the Columbus Carnatic Music Association is one such, which arranges music concerts and dance programs from South India. The organization has featured some of the performing arts fraternity’s most senior musicians and artists from major states like Andhra Pradesh, Karnataka, Kerala and Tamil Nadu. The organization also extends to promoting young talents.

Such organizations although strive to arrange a diverse set of programs each year,be it both vocal and instrumental concerts. The Community is open to identify new talents as well as recognize those who uphold the traditional heritage of yesteryears.

The organization in particular has also made special efforts to sponsor instrumental concerts. With a dedicated executive committee and the support of the members and the community,the CCMA has also made a significant cultural mark in Central Ohio.A completely volunteer-based organization,the community also undertakes collaborations with Universities and Colleges. Visit www.columbuscarnatic.org for more details.The time has come to keep up India’s rich tradition.